Blood Incantation "Absolute Elsewhere" (2024)

 

 

A record to turn heads, or ears, Absolute Elsewhere dazzles with esoteric evocations whilst conjuring unexpected tangents aeons apart from its Technical Death Metal foundation. Fortunes favor this enduring tangential nature, its forays into 70s Electonics and classic Progressive Rock yield a lasting spiritual satisfaction.

Often stiffly parted from its Extreme Metal counterpart, the sways of intensity sound like shuffling tracks between two entirely different bands. From pounding drives of aggression, grisly outlandish riffs, incessant blast beats and elongated howling guttural growls, we drop into lengthy persuasions of melodic musical indulgence.

Familiarity runs strong. It hits me on first listen as the lead guitar leaps into a slick crooning solo... Pink Floyd. This architecture is all to obvious but superbly executed. The following track follows in similar footing, the whirl of psychedelic pulsating synths reminiscent of Tangerine Dream... who actually collaborated for the song.

Later on echos of King Crimson play into its lighter side through acoustic guitars and soft organ drones. With Metal, the spurious chaos of Morbid Angel lay in its extremes. Flickers of Egyptian cultural tones pioneered by Nile and oddly Saor as its final track toys with heathen melody and an epic Black Metal touch to its percussive drive.

 

Absolute Elsewhere is a riveting listening, striding for new ground and showing its inspirations front and center. For me, its metallic side was mostly a familiar snore, only brightened by a few maddening riffs. I'm firmly captivated by its Prog Rock tangents, still enjoying them. Greatness was insight but the musical meld plays a stiff mix.

Rating: 7/10

Coprofago "Genesis 22" (2022)

 

With an apatite for this early breed of Djent adjacent Progressive Metal, my hopeful searches of a scene rummaged through before exposed last years release of Genesis 22. Although a remaster of the original Genesis, released twenty years prior, its been a pleasant surprise. I've covered Coprofago before, much of whats been said applies again to this earlier music, including welcome similarities with pioneers Meshuggah.

The modern aesthetic and marvelous production had me questioning my own memory. Familiarity was a shadowy affair, echos of extremities enjoyed decades ago yet audio so fresh. Restored from original recordings, the re-amping of instruments is its true marvel. In comparison to original recordings, these songs take on a new identity beyond its harsh origins. The original mix was a noise can, thin and raspy. Clicky drums, rumbling bass, thin vocals, all adorned by clunky guitar distortions.

The progressive fusion of Synth, Jazz and Death Metal under odd time signatures and meandering song structures was challenging enough. Hard to love yet made harder by its raw packaging. Its one of the most impressive restorations I've ever heard. It has quite frankly revitalized a sound once exhausted and made it interesting again.

The music of Genesis itself is a varied beast, such a wild ride of unorthodox riffs and tricky arrangements, its often hit or miss. Extremities tandem with opposites as screams and deafening chugs suddenly melt into warm colorful lounge energy. Favorites will get selected among duds, as sometimes the less favorable ideas get stacked. Chaos and La Idea De Borde are my picks. Much fun for a fan of this old band!

Rating: 6/10

Mudvayne "L.D. 50" (2000)

 

As typical a Nu Metal band could get, somehow the depths of Mudvayne's debut record eluded me in my youth. No one could escape the maniacal assisted suicide anthem of Dig, a classic of the genre. Familiar with it, Death Blooms and a few others, I decided the deep dive was in order! Having now binged its downtrodden frustrations these past few weeks, I've unearthed a simultaneously intelligent and trope riddled record. Primarily just a curiosity for the times, I've enjoyed its offerings immensely.

Talking of tropes, the influence of Korn is undeniable. Obviously, syncopated guitars and the angsty, moody tone but more notably does Chad Gray emulate many of the quirky antics and painful inflections Jonathan Davis defined. It stands in contrast to his furious screams and vulnerably endearing clean singing that offers a refreshing individuality. He melds well with his fellow band mates, as musicians, they are clearly a step above their contemporaries when it comes to ability and creative execution.

A big takeaway from the attentive ears of a now seasoned listener is the technicality. Mudvayne were clearly flirting with ideas from Technical Death Metal, Jazz and polyrhythms. Bassist Ryan Martinie routinely counteracts the simplicity of dropped guitar riffs. With elegant, yet complicated finger work, high octave chord strikes and purposeful dissonance, a delight is revealed. His presence textures the music, adding dimension and stripping out dulling repetition where song structures retread riffs.

Also toying with time signatures and more ambitious syncopation, quite often will one hear brief echos of Meshuggah as stabbing guitar riffs jostle with unusual rhythms. This along with calmer moments, delivered by cold shimmering acoustic guitars, amount to a solid formation. On its journey, the ideas explored abridge Nu Metal with more musicality while compromising nothing. The result is a very distinctive sound, easy to cast aside by its tropes yet under the hood a trove of aggressive wonder.

With a depth of inspiration unfolding, L.D. 50 plays sweet and steady. Broken up by a handful of zany, ambiguous electronic interludes, its relentless metallic march is bridged to reinforce a maniacal tension even present in theme. So too do core songs offer occasional instrumental explorations Progressive and atmospheric in nature. With all these elements firing strong, its sixty eight minutes play exciting from front to back. I'm walking away from this astonished, the bands reputation deserves more.

Rating: 8.5/10

Revocation "Netherheaven" (2022)

 

 Four years on from The Outer Ones, Davidson returns with another matured refinement of fleshy metallic complexities, toying darkly atmosphere against angular aggression. The opening Diabolical Majesty embeds a soft warmth in tone and groove, grim melody flickers through flushes of entangled guitar menace as a beastly portrait is painted. Putting its greatest effort first leaves a bitter taste as the following songs suffer its shadow. Delving deeper into a tapestry of dexterous guitar work, attempts to pry apart Metal convention and piece it back together fall flat.

This terrorizing meld of Death, Prog and Thrash flounders as its supposed arcane architecture hits the treadmill of repetitious unpredictability. Twists and turns run amuck, losing sight of what makes a song stick. The endless labyrinth of riff work dispels its own madness. The brutal glumness of grinds dispels its sporadic flourishes of magic in the form of Davidson's incredible solos and occasional acoustics.

Netherheaven arrives on the heels of my despairing disappointment at Metal's continued stagnation. Despite once being my darlings for Metal's future, the years have rolled by with the band burrowing deeper into the road they've carved for themselves and I've frankly become bored with a lack of freshness. The endless wind of sinister riffs, throaty howls "technical" percussion becomes a dispassionate blur, completely unable to peak my interest on this outing. At least its opener had a spark!

Rating: 4/10

Arsis "A Diamond For Disease" (2005)

 

Here we have a phenomenal three track record, a thirteen minute title track epic accompanied by two other shorter and decent songs. I'm also shocked to learn this EP followed their debut release the year prior. Rather impressive for a band in there infancy, this song is a marvel that holds up well a decade and a half later. Notably the production also stands strong, it bold snappy aesthetic holding together a cacophony of dexterous drumming, littered with technical fills, choppy pedal rhythms and blast beats. Alongside, the guitars have brimming tones of dense aggression constantly in tandem with roaring lead guitars injecting their slew of blazing rapturous melodies.

Taking a page out of the Carcass playbook, Arsis bring forth a ferocious yet classic Melodic Death Metal sound, infused with a Technical edge led by the snarling serpent screams of James Malone who does not shy away from the inspirations of Jeff Walker. The song writing and execution is pure class, overshadowing any murmurs of imitation as Arsis step into the genre boldly with an arsenal of ideas and refreshing passion.

A Diamond For Disease is a wild ride of high octane action! Its title track assaulting on many fronts as it navigates several passages of busy instrumentation creating moments of uplift and madness as its endless fire of lead guitar licks bounces from bright melody to dizzying swirls of diminished notation. Behind it chug away fast paced stomps of grooves and complimenting power chords. The breakout of luminous classic Heavy Metal riffs reminiscent of Ozzy Osbourne's The Ultimate Sin era, a keen moment I adored. Its a moment of refreshment between some seriously layered chops of brutality. It can be a task to keep up with how much is going on instrumentally.

This is of course a good thing. The musicianship is marvelous both for technicality and inspiration. The following song lets up on the density, going for more groove and melody at an easier pace to follow. The third follows on getting a little harder on the drums. Both are decent tracks but that thirteen minute epic is one to remember!

Rating: 7/10

Between The Buried And Me "Colors II" (2021)

 

Once a fresh and exciting band on the rise in my youth, Between The Buried And Me now have two decades to name. To my ears, their identity settled around the landmark record Colors. Since then its been a string of familiar and fun romps, blasting a Progressive Metal brandished by their particular flavor. With a recent personal desire to branch out I wanted to skip this one by, feeling that Between had become a little predictable with ambitious by design music. Then again, this is the sequel to the album with Prequel To The Sequel! Colors II! Surely something special is at play?

Either by exhaustion, saturation or my mood, sadly my enjoyment cannot say this is worthy of the title. Beyond that, the music has played out like a sporadic array of twisting aggression, sudden pivots and crowded complications has the instruments often cramming in a lot of unnecessary texture and notation that its songs end up like disorienting river rapids. Some arrangements, riffs and moments have power, intrigue and excitement but mostly it drones on as its mammoth eighty minutes grind away.

 I can't help but feel that Tommy's harsh, snarling shouts added to this grinding feeling. The album is interspersed with beautiful clean singing and non metallic instrumentation which often amounted to my favorite moments when the unrelenting subsides. That's when themes flourish and melodies lead the way but some of them too get a little to self indulged too. Progressive music like this is a tightrope to walk. In this case I felt as if it came of with more thought than feeling. Too much of the record is unnecessarily complicated and overloaded, amounting to an overly busy set of songs with some moments of fun and grooves sprinkled throughout.

Rating: 5/10

Foreign Objects "Galactic Prey" (2015)

 

Nostalgic adventures to bands of years gone past often yield surprises! Not only did I learn of The Undiscovered Numbers & Colors nine years prior to Universal Culture Shock but also this one, Galactic Prey, released eleven years on after reuniting as a band. Its been rather quiet since then and perhaps we can expect the next installment to come a half decade on, given their timely track record! With this in mind, they could easily be forgiven for any transformation in identity time has brought with it.

And that shift in tone is obvious from the get go. Initially finding myself stiff to the change, familiarity showed it is the character and spirit that excels here. The Technical Death Metal aspect of old feels steered more to an Arena Metal energy akin to Avenged Sevenfold. The color once heard bleeding from the guitars gets a dazzling new direction fit for a big stage and summer festivals. There is much passion in Deron Miller and newly on-boarded Kenneth Hunter's presence. The duo's vocals soar as a focal point, alongside blazing guitar solos that routinely step into the limelight. It is a trying chemistry, honest and sincere yet always slightly off note.

As one to not digest lyrics well, it really felt like the words were being thrust forth with a grand sense of theme. Wrapped around it lively instrumentation built a vivid landscape of color and aggression woven with a captivating spirit. From here many ambitious experiments blossomed and charmed with vocal effects and other manipulations creating some wonderful moments beyond the normal pallet of sounds. Saman Ali plays a wonderful roll with the keyboards, often subtle with aesthetics and timely with inflections of melody, his performance feels possibly under utilized as the electronic and symphonic aspects were class when in focus

When there record fumbles is in production. With a budget of thirteen grand, the fidelity is demo like, competent and punchy but unbalanced and frequenting audio clashes the snappy music pushes through. It does blemish a lot of the music and does not do it justice. The album's title track is also written by a different musician, Jonathan Masi. Its main riff feels like a rehash of an old Foreign Objects song, which is rather akin to the CKY sound, which this record has quite a few flushes with. Its definitely a good thing. Ultimately I'm left feeling like this would of been an utterly engrossing album under better guidance and direction because the music itself always sounds paces better than its muddied, crowded aesthetic.

Rating: 7/10

Foreign Objects "The Undiscovered Numbers & Colors" (1995)

 

Excited to dive into an extra helping of recently revived magics enjoyed years back, this five track EP was sadly not at the level of the lively Universal Culture Shock released nine years later. In that time between the duo had formed and toured with CKY, undoubtedly becoming better musicians in the process. Whats remarkable is how keen the music by these two young high school teenagers actually is.

The Undiscovered Numbers & Colors is again a Progressive Death Metal project, inspired by the evolving scene of the decade and smothered with melody. They have forged quite the upbeat, vibrant sound, jostling with technical feats and discordant creativity, the music flows through a web of intricacies weighted by the rough throaty shouts of Deron Miller and Jess Margera's dexterous percussive might.

The core of the music resides in the guitars and drums. Its fun, lively, chained by aggression and lifted by its color. Along for the ride an ambiguous synth section aligns the music with a thin string backing, odd noises and the occasional drones of noise that sounds like audio feedback. Strangely I like its presence in this form, slightly alien and unsightly. Delve opens up another strand with a gorgeous keyboard intro on a bright luscious piano. Its darkly majesty quite the shift in tone but its enjoyable.

Ultimately I'm left with a familiar feeling that comes from exploring old records I missed out on at the time. It will be cliche but I would of bonded with this one much more in my youth. As I final remark I'd say for a supposed demo the production quality is impressive. The instruments are punchy, vibrant and distinct, something other extreme bands where just figuring out around this era in time. Impressive.

Rating: 5/10

Foreign Objects "Universal Culture Shock" (2004)

 

A current record on rotation has been giving me some serious CKY vibes. More so two thirds of the line-up, Jess Margera and Deron Miller, on this adjacent project Foreign Objects! Its a gem of a record, taking that unique and dynamic sound of Camp Kill Yourself into a Extreme Metal direction with guttural vocals and an aptitude towards the more progressive and technical aspects of instrumentation. Don't be fooled, for all its flash the foundations are built with fantastic song writing and a flair for melody that has its crunchiest of riffs flowing with colors. Its parallel to a handful of metallic genres yet stands triumphantly apart with its warm embrace.

Foreign Objects was actually formed before CKY and with the viral success of the VHS videos and Jackass, it seems the pair decided to revive their ambitions with this sophomore album after Infiltrate Destroy Rebuild. That sound is apparent throughout but more so in its earlier songs. As the album progresses, more Death Metal influences to the likes of Cynic and Atheist end up showing themselves a touch nakedly with sections that lean on some of the tropes like dis-harmonized melodies and meatier guitar riffs. Its all fantastic but the album does start like a rocket.

 The self titled track and Genesis 12A leap from the speakers, the music more colorful, interwoven and going on a fantastic journey of colorful aggression melding its tuneful nature between groove and gusto with Jess wilding out on his drums with an animated performance set to strike all cymbals and toms frequently between the foundations of his patterns. Its wonderfully engaging and Deron's harsh throaty growl shouts have charm but less in the aesthetic and more so the timing and delivery. He sounds impassioned and it makes the songs come to life with his better lines.

I could heap on the praise but not everything is perfect. The albums production is a touch harsh and lacking budget but the music attitude fortunately punches right through its rough edges. As mentioned the album tends to drift to its less creative songs, passing an amazing Disengage The Simulator cover on the way out which fizzles out with the toned down Victory Over Neptune transitioning into a sombre acoustic but underwhelming ending. Then lastly there is Big Boy, its tone and temperament doesn't really fit the bill or carry the same energy as anything before.

At its peak, this albums songs are of a dazzling craft but its a flawed treasure for sure with the front loading. Looking up some details on its release Ive learned it was packaged with a five track demo from 1995. That is making its way to playlist immediately! I'm glad I got around to writing about this one, for any CKY fans reading, you need to hear this! Especially if your fond of more abrasive music.

Rating: 8/10

Between The Buried And Me "Colors" (2007)

 

 Where to begin with colors? What an incredible album. I was barely a fan when this record first dropped. I might have mistakenly known Between The Buried And Me as a generic Hardcore band crossing into the trending Deathcore scene. Then suddenly this masterpiece falls from the sky. Although the music may have solidified in my mind, time passes and It always feels great to return to this lengthy epic. Sixty five minutes of relentless musical fire split into eight from one massive sprawling song!

It was obvious upon release but even more so having chewed through Queen's discography all these years later that they, among many other Progressive Rock greats, etched an eclectic identity to this album. Although the bands metallic edge is rooted in Metalcore and Technical Death Metal, Color's musical world consistently blur boundaries and genre lines, with a particular fondness for the jollity, wondrous and playful spirit of pantomime and a theatrical bustle, best imbued by Queen.

In colorful juxtaposing bursts the musics bounces between its two worlds effortlessly. Tunneling barrages of technical riffage, frantic fretwork and sonic grooves switch into the smooth and illustrious. Graceful pianos, chirpy organs and harmonious singing shape up its eclectic sections which do get less of the airtime in the onslaught of brutality. The same can be said vocally, shaping up from forceful shouts of harshness to soaring sung melodies of grace. They tend to match the instrumental intensity.

On the fantastical journey, a lot of the music resides in the brutal camp of stomping technical showmanship but its best moments always come from the breaks, the blurring of lines and influxes of cultural sound, Backyard Bluegrass and French street music to point out a couple stand out moments. Although it is necessary to have this intensity to make way for the calm, it comes in droves and the records slowest parts are when the brutality gets drawn out, self involved and monotonous.

The composition also stacks a lot of the best material into the first few songs. A minor drawback on a record every fan of Extreme music should check out. It stands apart from other Progressive Metal records in its ability to so naturally flip the switch on intensity and provide some polar extremes even if not in proportion to one another. Giving it a few spins again tended to highlight flaws with a mind for examination and thought sharing, this blog, but it was also a pure delight to get deep into these songs again! A wonderful album to have in the collection.

Favorite Tracks: Informal Gluttony, Ants Of The Sky, Prequel To The Sequel

Rating: 9/10

Coprofago "Unorthodox Creative Criteria" (2005)

 

The crudely named Coprofago are a Chilean band likened to Meshuggah, once discovered at a time before the Djent scene had blossomed and an inch for the Swede's new sound was present. With roots in the Technical Death Metal scene, an influence of meaty seven string guitars hammering out blunt, looping polymetered riffs make themselves known from the kick off. With alien guitar leads akin to Fredrick Thordendal and harsh, bleak screams similar to Jens Kidman its easy to see the influence and how fans could be comparative between the two bands.

As the album plays, its other influences start to reveal themselves. The keyboards illuminate another angle, Jazz Fusion and Progressive Rock styling bring an exploratory nature to the music, it provides relief to the brutal onslaught of chugging mechanical riffs and broadens the scope of sound to quite the musical adventure. Tracks like Isolated Through Multiplicity go off on thees tangents of colorful expression, outbursts led by the synths as exchanges in musical electricity between guitar and keyboards play in contrast to the metallic edge and grinding drums.

The synth tones are somewhat cheap and cheesy when given focus to their aesthetic. Yet the performance and composition fits so snugly into whats unfolding that its barely noticeable. The whole thing is a classy affair from talented musicians rattling of their skills into Jazzy constructs of intensity and indulgence as the music often sways between an aggressive temperament and something far more exploratory and emotional, in a mysterious sense as they often pluck at more existential strings.

One could almost separate these two strands that tend to work in parallel rather than find common ground. The swing between is often blunt and swift yet with that it finds a charm perhaps learned through familiarity as this record is one I've frequented over the fifteen years since its release. Its always been a pleasure and listening to it again, breaking down the components I find myself really appreciating this niche era of influence when Meshuggah's legacy first started to spread.

Rating: 8/10

Horrendous "Idol" (2018)

Its stunning album cover may be inline with modern trends of brutal music but getting past its darkly, mysterious intro track we arrive in a glorious revival of early Progressive and Technical Death Metal in the vein of Atheist, Death and Cynic. This album brings out the best machinations of that era, uniting pummeling rhythm sections with gleams of melodic uprise and challenging composition that illuminate the musical direction. Horrendous are now a decade into their career and the heaps of praise this record recived brought them to my attention, I will be sure to explore the other three records that make up their back catalog as this fantastic release commands it.

That musical experience of a matured band shows itself through brilliant songwriting that captivates with excellence as monstrous assaulting guitar grooves dance with dexterous baselines filling the experience with an involved depth as the instruments fire together. The drums take on a more complimentary roll, firing off with the shifts, twists and turns of the music and rarely devolving into a straight beat. Blast beats are not plentiful as the band taken a more measured approach to brutality. Its utilized with appropriate timing given the musical direction which often starts out flexing its intensity and then bringing in licks of lead guitar melody and colorful shifts in tone that on a couple of tracks end up in a musical whirlwind you can't get enough of.

With snarly shouts at its fore front, the band avoid a bore with somewhat monotone voicing as the screams and shouts hinge on the pacing, dropping in with varied measures between each cry. It sits nicely over the complex music which is busying through its riffs, shuffling them around and always leading to sonic bursts of lead guitar fire that ignite these already excitable atmospheres of metallic chaos where anything can happen. Its a wild ride that packs in its best numbers at the front of the album, although everything on display is rock solid and the record does close itself with an epic string of riffs on its mighty eight minute epic Obolous.

The production is feasible, capturing the thick warmness of an older record without going overboard on clarity. Its acoustic guitars bring a moonlight shimmering tone to the record that spellbounds the atmosphere on Devotion and other parts of the msuic they grace. The guitars have a bright and filling thrash tone, the drums crunchy and ever present. The bass guitar gets the upfront treatment it deserves as it filling the belly with restless scale exploring. When it does mirror the guitars its usually with a classic Death Metal off note harmonization. Idol is brilliant for simply just that. All though it revives an old sound, it does so without statement, just residing in that era.

Rating: 8/10

Favorite Tracks: Soothsayer, The Idolater, Golgothan Tongues

Beyond Creation "Algorythm" (2018)

Although I was mostly unimpressed by their last effort Earthbound Evolution, the Canadian Technical Death Metal outfit always deserve a look in after their impressive arrival onto the scene with the viral Omnipresent single. Since its release Ive listened to Algorythm over and over, soaking the deep web of music and coming to the realization that its greatness lies where it deviates from the bands own normality. It has some unusual compositions buried between the walls of music both brutal in aesthetic and dexterity. By letting the Progressive side to their sound flourish, Beyond Creation have forged some fantastically engaging music at times.

One of the first and most obvious new avenues they engage with comes on the third track Surface's Echos. It opens with lavish, reverberated eight string acoustic tones akin to Animals As Leaders and Plini. The opening distortion riff even mimics the use of unusual fretting sound with rhythmic sequences. Its a small moment but its comes around again in the following track. There are other paths the music takes that feels inherently different and it usual comes about in climactic melodic as the unrelenting knitting of instruments finds its respite, unleashing smooth atmospheres and scenic moments that lead the music away from the pummeling grind.

Its a breath of fresh air released against a flow of dizzying musicianship that crams whirling drums, slippery high end baselines and dexterous guitar riffs into almost every moment it can. Its a dense wall of sound that can be picked apart thanks to the marvels of modern production and the band truly embrace the clarity given to them. Three interchanging guitars and the monstrous drumming of Boucher endows the songs with a depth you'll be picking apart for quite some time. Unfortunately on the vocal front this record is dull. Girard takes a singular dimensional approach, blasts of guttural belly aches sound at home when backed by blast beats but in the musics expansive moments the screams sound sour. Its a firm drawback.

They go all out with their compositions but for all the technical marvel of seasoned musicianship it is nothing without direction. Many of these songs are lengthy and with that time they tie the foray of loaded blast beat laden grinds into progressive epics, usually spurred on by the eruption of a scaling lead guitar, opening the song to its next elevation. Its where the record shines, and the more they embrace this over the tropes of the genre, the better the music is. Luckily the balance is pretty steady and so the whole thing plays with a frequent shifting in intensity where one can fist pump with the methodical brutality and still embrace its bigger sense of self.

Favorite Tracks: Ethereal Kingdom, Algorythm, In Adversity

Rating: 7/10

Monstrosity "The Passage Of Existence" (2018)

When I first started exploring Death Metal, the Florida based group Monstrosity were one of a slew of bands that never held my attention for too long. They joined the scene in 92, around the peak of that first wave of bands. Since then they have been sparingly releasing albums every three to four years however its been eleven since their last effort Spiritual Apocalypse. That absence has not hindered their competence as a band in putting together a new record yet for all its decency I couldn't find much to draw me in closer. It has all the crisp and audible delights of modern production but its styling and songwriting is a little lost by the ages. Not to knock it, but It doesn't feel as exciting in comparison to when you hear this approach in music for the first time.

The record is loaded with a constant roll of tight and gnarly riffs. The chemistry between the drummer and rhythm guitarist is fantastic, lots of choppy technicalities lining the assault with brutal flavorings of groove and thrash from the rhythm guitar, always with a rapid, dexterous beat to match. The lead guitar sounds slick and lean, the songs frequent climatic moments for them to rise above and duel in tandem, flexing all the old tricks and wild sounding techniques. That is unfortunately a point of concern. The vocals are a dull drone, the same guttural tone grunts and groans at the same consistency and intensity throughout. It rarely compliments the dynamics of the music itself, even when shifting gears with an elongated roar.

The sound is generally encroaching on the Technical and Brutal sub-genres but given how developed those sounds are nothing comes of with a surprise. The guitar solos are attention grabbing and elaborate but as iterated above, its all been heard before. If you want the 90s sound then here you have got it. As already said, this is a competent band however they are spinning something I am just not interested in. For all the merit I can give it with my observations, It did little to draw me in or get the blood flowing. I can't think of a single song or moment that peaked my interest. Its all just to safe and cliche of the style. Nothing awful or off key, just not for me.

Rating: 4/10

Revocation "The Outer Ones" (2018)

I have a strong connection to the Boston based Revocation. I caught their debut album Empire Of Obscene literately moments after it reached the blogspot scene. It was an instant connection and I regarded them as one of Metal's finest new acts, expecting them to rise to the top but it wasn't to be so. I still think they are criminally underrated but as the years stroll by and the excitement of "traditional" Metal wains I found myself becoming disinterested in them. This new chapter is a big step up from Great Is Our Sin, which in turn was a also a step up from the disappointing Deathless.

The group continue to firmly stick by their core identity of style and with that run the risk of repeating themselves. They call it diminishing returns, the first exposure always has the most impact but in the case of The Outer Ones they push the boundaries far, holding onto that distinguished character while creating a new and vividly animated universe of beastly Extreme Metal in the Revocation name. It holds up well to the ambitions conveyed by its spacial, maddening and slightly creepy album art.

The core tenants of brutality and Thrash hold true as forays into the antics of Technical Death and Progressive Metal bring about a detailed and dizzying web of indulgent music, punishing in tone but aesthetically gorgeous in delivery. Its production squeezes in the instruments with clarity and precision. As a result the bass guitar gets room to maneuver into focus with a luminous gritty texture in its select moments. David Davidson also stretches his voice down a peg with a significant amount of low, growling guttural vocals that land with a streak of menace, something he has clearly worked hard on. It gives the music many hair raising moments.

The music itself is a never ending sprawl of clever riff design and song structuring that creates a very specific atmosphere. I feel like a lot of the record gets caught up in the brutal aspect of their sound. Its the songs that offer the most respite from the slaughter that bring about the best moments, that and the guitar leads. These erupting solos evolve the songs, played with true intent and vision they time and time again mask the shifts of music and make the whole experience organic. That's frequently a tricky task for tricky music that is dexterous but often mechanical and without feeling.

This record has brought the utmost enjoyment, yet as I touched on, it is the subversion of the core tenants that bring about the magic. If Revocation where to explore directions that stray from the roots I am confident they would find gold. In a few brief instances I am reminded fondly of Opeth, a band that utilize clean vocals exceptionally well. At many times I felt the music was yearning for that but most likely that is my own taste exerting itself on a punishing and brutal record that for over half of its duration is dancing in the swamps of mean and ugly guitar playing brought to the mercy of groove and sensibilities. Its a cracking listen for any Extreme Metal fan.

Rating: 8/10

Favorite Tracks: Blood Atonement, Vanitas, Ex Nihilo, A Starless Darkness

Irreversible Mechanism "Immersion" (2018)

Over two years ago the Belarus duo Irreversible Mechanism's debut made quite the footing in the musical landscape of my mind. Their take on Symphonic Extreme Metal had many of the hallmarks similar to bands I adore, I could hear echos of Dimmu Borgir, Old Man's Child, Aeons Confer and Abigail Williams. It became a record of frequent returns and so my excitement has brewed in anticipation of this sophomore album. Although it sticks to similar classifications, Immersion is an evolution of the beast and I'm not entirely sure where I stand with it. One thing is for certain my captivation has been held over the weeks as I have strayed of from writing about it, soaking in the experience as many times as I could before now.

 This new record expands its pallet with the introduction of luscious, gleaming acoustic guitars reminiscent of Gru. They work in parallel with deep, soft, airy synths boasting an immersive spacial tone. It plays between the dynamic bursts of explosive drumming and distortion guitar onslaught that drifts keenly into angular and blunt force playing akin to Technical Death Metal. The blazing dives into pummeling intricate blast beats and maddening atonal fret scaling licks push at its harshest but also in a constant sway with the synths and ethereal guitar sounds that vastly expand the pallet with plucked chords and softer distortions to thicken the atmospheres cast.

Where they once had echos of other bands, Irreversible Mechanism have very much channeled the aspects of their sound to new places. The once typical sweep picking licks that flooded the music with melodic flushes has been channeled into a web of meaningful guitar leads and solos that organically flex with the swaying of the music, erupting to life in with the dynamic shifts in tone. Their talents as musicians has found a vision and its executed wonderfully in a set of nine songs that frequently shift, sway and unravel with its smothering of intricacies and complex song structures leading into new and marvelous frontiers that feel boundless in this form.

Its a complete package, the music is thrilling with its extremities and its aesthetics are gorgeous. These modern production techniques sound is if there is nowhere left to go. Packed into this production we hear every kick, snare, symbol and instrument with clarity as they all frequently pile into the fold with a frantic unleashing of extreme composition. The drums pack a hefty punch, slick tones on all its components let every note cut through with strength that compromises nothing. All the way down to the bass guitar, which gets its moments to rumble its texture, every sound illuminated.

And so the album cruises on by with its unending sways, exploring different degrees of parrying assault and indulgence with its two identities. Beyond has both my favorite moments and least too, its swings of gleam the most appeasing and its dive into Technical Death Metal the most grinding. Tracks like Absolution is a, mind the pun, absolute peach when the back and forth is frequent and lined with glorious, emotive guitar leads. Infact eight ninths of its whole fit that frame, constantly finds these energetic thrusts to soaring peaks of intensity and blissful color on practically every song while each one feels so unique.

Taking all this wonderful music in I do feel an ambiguity of vision. It reminds me of my experiences with Doom and Post-Metal. I can feel the electricity but it doesn't allays light the bulb. With every song here I feel the current but where is it we are? I'm not quite sure, I mostly see neon colors illuminating solar systems and bizarre, exotic alien planets with intense visuals but perhaps that was put in my mind but the fantastic album cover. Either way this will be one of the years best and one I will continue to enjoy for many years to come! Bravo Irreversible Mechanism, you have raised the bar for all within your field, this is a true accomplishment.

Favorite Tracks: Abolution, Footprints In The Sand, Limbo

Rating: 9/10

Between The Buried And Me "Automata II" (2018)

Automata II is the second installment of the Automata double mini-album format the band have split their music into this year. This second half clearly strides into consistency with a stronger sense of theme that their progressive nature can usually make a meal of given the array of influences these musicians share. Across its four tracks the theatrics of showmanship play out in moments of carnival festivity as horns and trumpets emphasis jovial moods emanating between the cracks of rattling drums kits and metallic groove shredding guitars. The chemistry is tuned to its apex on Voice Of Trespass as striking memories of Diabolical Swing Orchestra are conjured.

On the other three songs this particular vibe is less prominent as the slew of intensity shifts, direction changes interchanging of instruments leads it along many paths. Its thirteen minute opener The Proverbial Blow takes the cake as both records best song. Its opening riffs evolve with intricacies in replay as subtle organs and synths wade in on the melodies. Its energetic thrust eliminates the building hype as calm wades in on the storm, holding us in suspense. Singer Rogers brings a vocal performance to elevate the fine direction the song takes, the steadily rising intensity finds its moment for shouts and screams or tight distortion guitar grooves.

A distance lead guitar wails across a suspended atmosphere as the music builds its tension to release. Its fine musicianship but only on this track does it really resonate. The other songs tend to fall into the mishaps of Prog music that doesn't quite engage this listener with the direction itself. As shifts permeate and new instances arise the juggling of serine melodic harmonies and dirty aggressive hammering play somewhat jagged. That's more of a comment on the first Automata though, this is clearly the better release, the best of both could of made a swell record but instead we have two reasonable releases that are sure to keep fans happy.

Favorite Track: The Proverbial Bellow

Rating: 6/10

Pestilence "Hadeon" (2018)

Dutch Death Metal outfit Pestilence are a group I'm not all to familiar with. Forming in the mid-eighties they were certainly around at the very start of the scene and I believe they made a name for themselves by diversifying into Technical Death Metal in the nineties, getting a little Progressive and incorporating synthesizers. The electronic sounds are the main takeaway I remember from listening to their early records eons ago. They disbanded in the mid-nineties and reformed in 2008, after another hiatus the group are back with Hadeon, the groups eight full length album.

Firstly you might describe the record as Technical Death Metal, however that term is firmly rooted in the genres origin, akin to bands like Atheist and a far stretch from the dexterity and audacity of modern groups like Beyond Creation. Even the records production aesthetics captures the old spirit, relatively muddy, rounded and its brutality cushioned, its far from being a crisp, clear, cutting edge tonal experience and I really enjoyed that. It fits the music well but most of all "singer" Mameli's guttural groans and aches are a frozen in time slice of how they were performed back in the day.

The record cruises by with an a relatively temperate aggression. Fast rattling blast beats, bursts of dizzying fretwork and bloated groans play up to a brutality that feels out paced by other bands and so it hangs in a curious place where its best lived passages of music flow from the lead guitar solo's and anything that breaks up the monotony of the old style. Astral Projection does this with a rather strange break into eerie, unsettling synths as a robotic voice talks in mechanical rhythm over the music. Its less than a minute but makes the albums most remarkable, odd and fun moment.

That it is the most remarkable moment highlights this records problem, there's not enough spice or flavor about it. It sticks very rigidly to principles decades old and in its defense it executes these ideas really well. Its bread and butter old school technical death! The album sounds great, the music is cohesive but offers precisely nothing unheard of before, with exception to its robotic visitor. The end result just isn't particularly enthralling to me given Ive heard this all before.

Favorite Tracks: Astral Projection, Discarnate Entity

Rating: 5/10

Between The Buried And Me "Automata I" (2018)

I was firmly disappointed in the bands previous release Coma Ecliptic and I'm marveled to learn its been three years since its release! It makes sense since I have a memory of walking a route at my old home and listening to that record, not resonating with it. My how time flies! Fortunately this time around Ive quite enjoyed this shorter record, clocking in at thirty five minutes it doesn't out stay its welcome however it does have a rather bitter sweet composition where the heavy doesn't always suit my mood.

Swaying between their expansive, Progressive inclinations and metallic roots in Math Metal, Metalcore and Djent, Automata I has moments of scenic harmonies, playful melodies and luscious chemistries between musicians that also, unfortunately, gravitate into the lull of overtly technically and aesthetically bludgeoning tangents of metallic assault. Being a Progressive Metal band it is hardly a surprise but rather disappointing how the heavy end of their sound feels grades below what they accomplish with harmonic breaks and ditching of distortion guitars, the same goes of singer Tommy Rodgers who has a powerful clean voice that gleams, his screams however I find cagey and narrow, to often do they creep in underneath his clean tracks in the transitional sections.

 Its made me question if my apatite for heavy music is fading but I think it has always been the Progressive side of their sound that has lured me in. With the second half of Yellow Eyes and Millions, the band drift into a wonderful passage of free flowing music with touches of Jazz Rock as they tone down some aggression and let drummer groove on his kit. The opening track Condemned To The Gallows manages the swaying of intensities much better but I think this band has so much more to offer when the distortion and screaming isn't present. I also learned today this is essentially one half of a double album so Ill be picking up the other half soon! I'm hoping for more acoustics.

 Favorite Track: Millions

 Rating: 6/10

Despised Icon "Beast" (2016)

News of this bands return wasn't the most exciting story id heard this year but it was certainly unexpected for the Canadian Quebec "Technical Deathcore" outfit to announce their reunion. They were a short lived group who released two albums in the prime of the scenes popularity and split rather abruptly, ending their steady rise. Id barely touched their records since seeing them live a few times and to be fair I hadn't really missed them, Despised Icon were a fair shade better than most of the generic sounding bands at the time, however their "Technical" edge doesn't separate them from a tired sound and their reunion is as if a day hadn't passed by. At first it sounded like one element had been dropped but by track five, "Bad Vibes", it drops in almost instinctively. The track sets itself up perfectly with a low djenty timed chug from the guitars and in true Despised Icon fashion drops the ridiculous bree squee vocals that sound more comical than anything else. Fortunately they are not frequent on the record, certainly not awful but a vocal style I care less for with time.

The record as a whole doesn't leap out with any remarkable tracks and tends to scurry its way through a blur of tight timely riffing that shuffles back and forth, switching and changing up with all sorts of mini guitar riffs between large groovy or heavy moments, chaperoned by mechanical, dizzying drumming. It blasts and chops away with little fluidity or transition, hammering on and in the instant the guitars adjust they follow with another volley of earth shaking rattling. The bass guitar is a mere extension of the rhythm and the vocal are harsh, blunt and monotone screams with enough texture for reason but often dispelling screeching over the dense, slightly fuzzy guitar tone.

The record rarely brakes from brutality and is spliced in two with the interlude track "Dedicated To Extinction". A short, dark and foreboding symphonic peace that sticks out like a sore thumb. It had me scrambling to my playlist, trying to find why it had skipped ahead from the "Beast" record. The only merit I can give is the records production, aside from the vocals its a very well rounded record with a lot of warm and well mixed tones for each of the instruments that can withstand the blitz of the drumming. That's what made a rather hollow record enjoyable for me, its listen-ability. Sure there are good riffs, breakdowns but no sense of theme or something grander than a collection of riffs emerges. "I am my biggest threat" a lyric that jumped out as a poor rewording of "I am my own worst enemy".

Rating: 3/10